Mixing / Production

Front-of-house engineer David Williams talks to SOS about why mixing with a DSP audio interface is worthwhile, despite the dangers of using a laptop on stage.

The Horrors take studio experimentation to new extremes, even designing and making a lot of their own equipment.

This month Pharrell Williams Happy, DJ Snake Turn Down For What, John Legend's All Of Me and the Classic Mix - Dire Straits Money For Nothing.   

Producer and engineer John Congleton has worked on anything and everything — the more unfamiliar, the better!

This month featuring 'Pompeii' by Bastille, 'Let It Go' by Idina Menzel, 'Strong' by London Grammar and the most classic of classic tracks from 1971, Led Zeppelin's 'Stairway To Heaven'.

This month we discuss tracks from Disclosure, Naughty Boy, Tom Odell and our Classic Mix is Bonnie Raitt's 'I Can't Make You Love Me' from 1991.    

Consisting of two big-name producers, a Hollywood composer and an academic — plus masses of modular gear — Node are the ultimate synth supergroup.

Jazz quintet Polar Bear have always been musical adventurers, and their latest album extends their experimental philosophy to studio techniques.

This month's tracks from Miley Cyrus, One Republic, Black Sabbath and our Classic Mix - ZZ Top "Gimme All Your Lovin'' from 1983.

Izzat Majeed single‑handedly resuscitated Pakistan's moribund music scene — and built a state‑of‑the‑art studio to capture the results.

From their gear choices to their recording techniques, everything about Wild Beasts' approach to production is unconventional.

Prefab Sprout rose to fame in an era of indulgence and eye‑watering studio budgets. These days, things are a little different...

This month tracks from Jason Derulo, Martin Garrix, Eminem and our Classic Mix: The Beatles' Yesterday from 1965.

Proving that not every pop star is a manufactured creation, John Newman is as at home in the studio as he is on TV.

This month we analyse hits from Storm Queen, The Reflektors and Lorde plus our classic mix 'Roxanne' by the The Police. 

The Mix Review in Sound On Sound This month we analyse hits from Biffy Clyro, Armin Van Buuren and Duke Dumont, and take a look back at a classic mix, Sinead O’Connor’s version of “Nothing Compares 2 U”, from 1990.

Producer Phil Ramone was legendary for getting great vocal sounds. Here's how he did it — and how you can do the same.

Björk's stage show is bizarre and beautiful, and it takes a team of dedicated musicians, technicians, programmers and designers to make it happen.

Under the guidance of engineer and producer Maxime Le Guil, Vincent Delerm forsook grand orchestration for the humble piano — bowed, plucked and hammered...

From elaborate band arrangements to their pioneering collaborations with Giorgio Moroder, Sparks' music has always been innovative and instantly identifiable.

This month we analyse Bing Crosby's 1947 Christmas classic "White Christmas” as well as a number of contemporary commercial hit record productions.